Our mission is to bring opera to a younger, less-affluent crowd by making a new and sustainable format for production in the US.

We are accomplishing this on a scale of

300-500 attendees per performance night, with

Five to eight performance nights per production, and

Four productions per year, which means approximately

11,000 audience members per year at our full productions alone.

We looked into who was coming to our shows, and we found that

74% of these audience members are 44 and under, and

60% are 34 and under.*

We accomplish these numbers by

Offering low ticket prices, typically $30, and by

Occupying alternative loft and warehouse spaces in Brooklyn with

Creative, inexpensive stagings, and

High-level offerings of musical and dramatic talent.

We have found that this formula is truly exciting and inspiring a new and growing generation of opera enthusiasts who, after attending one of our performances, are much more likely to attend production at a larger opera house.**

2016 was our first season of four full productions, one per quarter. Rossini’s Le Comte Ory was “a perfect union of New York’s most raucous and delightful opera company with one of the most raucous and delightful works in the repertory” (Zachary Woolfe, New York Times). Other productions included Puccini’s Tosca, Mozart’s Cosi fan tutte, and Verdi’s Macbeth.

2017 is another step forward with four more productions.

Rossini’s Otello

Pergolesi’s Stabat Mater & selections of Vivaldi

Ruggero Leoncavallo's ​Pagliacci

Béla Bartók's ​Bluebeard's Castle

*Based on analyses of web traffic and sales data.**Based on results of a recent online survey of our audience.

​With $30 tickets and a formula that might be described as equal parts keg party, tech start-up and opera troupe, LoftOpera has established itself in the past few years as part of a new breed that can draw that most eagerly sought commodity — young audiences — to opera while winning critical praise.

— Michael Cooper, The New York Times

LoftOpera offers a paradox: an embrace of highbrow establishment pomp as retold by riders of the G train, the one subway line untouched by Manhattan.

— Richard MorganThe Wall Street Journal

When your only worry about an opera company is that it may become too mainstream, that suggests it’s important and valid. LoftOpera is more than that: it’s vital.